excerpts from the ted nash blog

[alocispepraluger102]

saxophonist ted nash has a delightful, loving, unassuming musician's blog.

i thought you might enjoy reading it.

My link

Lee Konitz is a bad dude

02/16/2012

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I’ve been rehearsing with Jazz at Lincoln Center this week, getting ready for concerts Friday and Saturday nights at Rose Hall. We’re playing the music of Stan Kenton, and our special guest is the great alto saxophonist Lee Konitz.

I first met Lee in the early 80s when he walked across Central Park to a now defunct club named Bechet’s to hear one of his idols, the great saxophonist who made a name for himself in the late 40s playing with “Les Brown and the Band or Renown,” Ted Nash. The only problem was it wasn’t the great Ted Nash, it was me. Barely in my 20s, I was largely unknown, and it was understandable that Lee would make the mistake. The fact that Lee actually stayed and listened to this newbie play a set (although my trio did feature the pianist Kenny Baron) said a lot for him.

I have been a big fan of Lee’s for years. If you haven’t heard his 1949 recording “Subconscious-Lee” stop reading this and get your butt on Amazon...

And check out this video!

Although Lee’s playing has changed a lot - he now plays with much more space and reflection - it is extremely melodic and deeply felt. I love how he balances intellect with the blues.

Some of the Kenton arrangements are particularly inventive, especially the ones by Bill Holman and Bill Russo.

I really hope you can come check this concert out.

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What is Improvisation

02/06/2012

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Sittin’ in with Sutton on Saturday

02/02/2012

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Had a great time the other night at Birdland! Went down to catch The Tierney Sutton Band for their last set of the week. I was really glad I showed up. I was in one of those “stay-at-home-on-a-Saturday-night” moods, but reminded myself what I ask other people sometimes: a few years from now what are you going to remember - that you stayed home and got some work done, or went to be part of something?

The band was playing music from many of their recordings, including their most recent, American Road. The West Side Story arrangements were killing. What I love about this band is that they have been together for almost 20 years, and the kind of trust and intimacy that comes with this long-term relationship really shows.

Tierney is like family. Her husband, the great trombonist Alan Kaplan, and I have been friends since we played in the Don Ellis Band together, back when we were practically kids (not sure how old Alan was, but I was 17). When my mother passed a couple years ago, Tierney and Alan were among the close friends and family that were at the wake.

I have been reprimanded in the recent past for not bringing my horn down to someone else’s gig (thanks, Wynton!) so I had my alto with me when I walked in the door at Birdland on Saturday. When I saw Tierney she said “Hey, you got a horn with you?” “Of course” I replied, as if I did that every time I went anywhere.

On the 5th tune, Tierney announced: “We are going to do something we have never done in all the years we have played at Birdland - have a horn player sit in with us.” I had no idea we were setting a precedent. I figured it happened all the time. She gave me a very generous introduction and I grabbed my 70s Vito alto and got to the stage just as they began Caravan. The band was killing, and being part of their sound felt as if I had played with them for years.

Toward the end of the set Tierney called me back up to play a ballad of my choice. I said the first song that came to mind: “My One and Only Love,” not even sure how well I knew it. Tierny turned to her pianist, Christian Jacob, and he just kind of shrugged like it should be cool. Tierny just started singing where it felt natural, and then Christian joined in, followed by Kevin Axt (bass) and Ray Brinker (drums). Between phrases Tierney said “Did I pick a stupid key like B, or something?” showing both her sense of humor and easy-going style.

The key really wasn’t important. What was important is that everyone played with such sensitivity and creativity. Particularly Christian, who really knows how to take risks behind Tierney without getting in her way.

Glad I didn’t stay at home.

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Bringin’ in the New Year Right!

01/04/2012

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Last night was one of those nights. One of those good ones. Sometimes when I am at a happening that is truly happening, I think “This is one of the best places anyone could be at this moment anywhere in the world.”

Frank Wess is turning 90 this month and to celebrate, Dizzy’s Club paid tribute with a gig featuring the “Dizzy Gillespie All-Stars,” led by Roy Hargrove. The band featured some of the best musicians, younger and older, and was swinging like crazy. Jimmy Heath was in the sax section, if that gives you any idea.

The thing was that “All Star” as this band was, the audience was just as much so. At the table where Ivette and I sat (as guests of Frank Wess and Sarah) were Lew Tabackin and Toshiko Akiyoshi, Jerry Dodgion, Dennis Mackrel, and Ed Xiques. Sitting across form us was a man named Jimmy Fleet, the son of a Biddy Fleet, who not only taught Frank Wess in the late 30s, but Charlie Parker as well. Bill Charlap and Renee Rosnes were a table over. Dave Sanborn was there the set before. This is an example of how musicians love to come out and support those who have helped create and shape this art form, be part of the connection to this rich history.

Frank Wess didn’t sit in the sax section, as he did for years as part of the Count Basie Orchestra, but was a featured guest, and came out and swung on three or four tunes. It’s amazing that at 90 he can still play both with the ferocity and tenderness he did fifty years ago.

Edited March 31, 2012 by alocispepraluger102